2mins

《新闻记者》（Reporters，雷蒙·德巴东，1981年出品，90分钟）披露了法国一家新闻图片社的内幕。对于大名鼎鼎的伽玛图片社来说，1980年10月发生的事情实在不少，比如巴黎市长希拉克访问小商贩、法国总统德斯坦访问中国、诺贝尔奖花落谁家、谁将领先即将展开的总统大选，奢侈品牌卡蒂尔的新品秀，等等。五花八门的事件让图片社的摄影师们忙得四脚朝天。为了抢在其他媒体的同行前头夺得独家新闻，摄影师们既要体力充足又要挖空心思，于是种种手段都使将出来，甚至那些上不得台面的卑劣的欺骗手段都派上了用场。本片导演雷蒙·德巴东（Raymond Depardon）1942年生于里昂附近的农民家庭，1958年独自来到巴黎闯荡，从一家图片社的伙计干起，逐渐成为法国乃至世界著名的摄影家。1963年，朋友借给他的一架摄影机，使他获得机会实现成为电影家的梦想，至今拍摄了一系列反映法国各行各业的纪录片。作为资深摄影记者和伽玛图片社的创建人之一，德巴东异常熟悉摄影记者这个行当，影片《新闻记者》入木三分地刻画了摄影记者的所作所为所思所想。本片荣获1982年法国电影恺撒奖最佳纪录片奖。

An analysis of the power relations in an ordinary family.

A famous French filmmaker (Jean-Luc Godard) is hired by a major Hollywood producer (László Szabó) to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.

1955 film by Jean-Luc Godard

In 1981, after the presidential elections in France, and the arrival of the french socialists in gouvernement, the french TV asks to Godard to make a movie about the idea of change.
Godard, finally, made a short movie in which he explains that , between images and power, or politic, there's always some manipulation.
Godard compares himself as a french resistant during the WWII, tortured by Gestapo, suffering of lack of freedom with the actual TV.
A great short.

1950 film directed by Jacques Rivette

Birri devoted his energies to opposing social class inequalities in Argentina, yet with the Frondizi government ousted by the military, Birri was forced to leave the country in late 1963. While in political exile he traveled throughout Latin America teaching young filmmakers his craft, eventually returning to Rome due to lack of resources. He spent ten years making the little-seen experimental art film, Org. When it was finally finished in 1978 it so outraged its producer that he ordered it destroyed (though reportedly a print still exists).

Jean-Luc Godard and Anne-Marie Mieville talk about their films, while doing everyday tasks around their house.

"Documentary film on the construction of the Grande-Dixence Dam, and especially the" Concrete "phase (production, routing, pouring, etc.) It is the highest dam in the world, a thousand men are fighting "By joining hands ", connecting every eleven hours for this magnificent monument.The sound of the excavators invades the soundtrack which leaves " more room for daydreaming ." The transport of concrete is done through cables, called "Blondin", in tribute to the famous French tightrope walker.
Adrien Porchet turns plans at the end of May 1954. They are wide and distanced shots that never approach the workers. Godard edited the film in October with a lyrical commentary in an austere voice and pastoral music borrowed from Johann Sebastian Bach. He sold his film to the Compagnie de la Grande Dixence in 1955 and even enjoyed a theatrical release in the first part of Thé et Sympathie in 1958. "

The legendary actress of the Nouvelle Vague, Anna Karina, is closely related to the revival of French cinema in the 1960s. Dennis Berry, the actress's current husband, tells the story of her life, especially focusing on her memories of Jean-Luc Godard and the great directors she knew, as well as looking at her memorable meeting with Serge Gainsbourg and more recently her career as a singer. In a cinema hall with red chairs, the grande dame comments on her journey through cinema and music. The film not only portrays the icon of the French New Wave through the decades, but is also a love letter to the one with whom the director of this documentary has shared his life for more than 30 years.

A few years ago, Mitra Farahani had an idea. Could she engineer the encounter of two great filmmakers who, although they belong to the same generation, have never met in person: Jean-Luc Godard, the Swiss master who needs no introduction, and the lesser known Ebrahim Golestan, whose literary and film work is the bedrock of modern Iranian culture – two hermits of cinema’s technical and political revolution.
A meeting proves to be out of the question but, just as Farahani had to adapt the unforgettable Fifi Howls from Happiness after the unexpected death of her protagonist, this new setback stimulates another creative approach. Farahani suggests a correspondence, to which a hesitant Godard, playful as ever, replies: “Maybe we will not correspond to one another”. Contemplating their common and/or divergent odysseys, the maestros begin sending each other a message, every Friday, for 29 weeks. À vendredi, Robinson offers a brilliant insight into the role of the artist in the 20th and 21st centuries. With death now a tangible possibility, the two great men also consider their own end, as intellectuals and critics of the times. One thing is certain: they won’t be facing it with anything less than razor-sharp insight and, of course, humour.

An 8-part documentary chronicling the history of cinema, examining the history of the concept of cinema and how both relates to the 20th century.

‘What was unusual about this film I think is that I tried to see. I didn’t want to write a script I wanted to see it… There were certain given facts but the business of the script was to see them, to see if this world could exist’. - Jean-Luc Goddard. Scenario du film Passion. 1982

Jean-Luc Godard, who used radical film aesthetics, has been one of the most influential film directors far beyond the 1960s. As co-foun der of the Nouvelle Vague, he rebelled against the (un)written laws of cinema and created an unmistakeable, experimental film language. Godard himself wrote the screenplay for this documentary in the CINEMAsuisse series about Swiss cinema, which is produced by the Swiss Radio and Television (SRF).
This is not a film “on” Jean-Luc Godard. The Swiss television station asked me to make a film “on” him, but I was embarrassed. I’m with Jean-Luc, we work together, so I didn’t want to make an objective film about him. everything is always “on”, documentaries “on” Godard, books “on” Godard, etc, but I’m not “on” him I’m simply “with”. So I went to him and told him and asked him and he suggested we do something together. (Fabrice Aragno)

通过让-吕克•戈达尔的一些访谈片段，以及在蓬皮杜艺术中心的公开讲座片段，他建立起了对历史，政治，电影，图像以及时间的思考。让-吕克•戈达尔准备在法兰西学院以课程交流的方式来对各项主题及存在的问题做深入的介绍。

The title and subtitle of this French miniseries are "Six Times Two; Over and under the media". The "six" refers to the fact that there are six episodes; the "two" has a double meaning. Each of these episodes is a collaboration between two people: Jean-Luc Godard and his long-time partner Anne-Marie Miéville, but the "two" also refers to the fact that each episode has a two-part structure. The individual episodes run 100 minutes each, split almost precisely into two 50-minute sections.
Each episode deals with a specific theme -- history, women, labour -- with the first half being an overview of that topic, and the second half being a documentary interview with one person who somehow represents that very broad topic!
This is a thoroughly Gallic documentary series, with everything that the term implies; despite my passion for Godard's films, I found 'Six Times Two' to be extremely talkative and static. Reportedly, Godard himself did not have a high opinion of this miniseries.